Collaborating on such scores as “Madagascar,” “Man of Steel” and “Inception,” Holkenborg’s own voice would emerge for the studios with the techno-suspense of “Paranoia.” But if spinning out internet-energized percussion might have been expected for a gifted gearhead, Holkenborg showed he had the stuff for a symphony hall as well with the epic, orchestral sound of “300: Rise of an Empire,” showing off a high-octane fuel of organically thematic writing and percussive electricity for “Divergent,” “Run All Night” and his forthcoming big ticket soundtracks to “Point Break” and “Superman Vs. Holkenborg’s own path to Hollywood began amidst screaming metal, as the Holland-born musician went from producing the industrial bands Sepultura and Fear Factory to producing for such diverse artists as Chuck D., Coldplay and Britney Spears, developing an cool sense of rhythm that caught the ear of another rocker-turned-composer named Hans Zimmer. But even their insanity can’t begin to compare to the latest work of Junkie XL (aka Tom Holkenborg), whose alternately barbaric and beautiful work signals the end of the musical world as we know in “Mad Max: Fury Road.” Now, it’s about the shock of the alternative new as cutting-edge artists like Trent Reznor, Atticus Ross and Daft Punk are sought by groundbreaking filmmakers to shake up soundtracks with electrified industrial percussion and techno rhythms, creating scores that can often border on audacious anarchy. ON THE SCORE is sponsored by La-La Land Recordsįilm music has come a long way since such relatively sedate pop-rock artists as Simon and Garfunkel and Eric Clapton were recruited to bring a new, youthfully acceptable sound to film scoring.
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